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"content": "\u003cp>Beth Wilmurt is used to coaching the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">Community Music Center Children’s Chorus\u003c/a> from a big, airy room with a grand piano at the group’s Mission District campus in San Francisco.\u003c/p>\n\u003cp>But now the chorus teacher is working from home, creating short instructional singing videos to share with her group of 8 to 12 year olds.\u003c/p>\n\u003cp>“Hi everybody! It’s just me and my ukulele, saying hi,\" says Wilmurt in her video. \"I thought you could sing with me,” she adds, and then launches into a series of warmup exercises geared specifically for kids.\u003c/p>\n\u003cp>\u003ciframe title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The statewide order to shelter in place to help slow the spread of the coronavirus has put in-person rehearsals and concerts on hold. So children’s choirs across the Bay Area, like the one Wilmurt leads, are finding creative ways to keep kids singing, even as they’re stuck indoors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilmurt is hoping her students will use her videos to practice singing on their own time, because virtual rehearsals aren’t really an option. Some of the kids she works with lack home internet access. And standard video-conferencing platforms like Zoom and Google Hangouts don’t work well for groups that want to sing together in sync, rather than talk in turn.\u003c/p>\n\u003cp>\"We can't do it with the technology yet,\" Wilmurt said. \"We can't sing in time. There's a delay.\"\u003c/p>\n\u003cp>But Wilmurt said it’s important to keep her students singing, even if it can’t be in person. \"This joy, of connecting through music,\" she said. \"It's palpable.\"\u003c/p>\n\u003cp>And the families whose children she works with agree.\u003c/p>\n\u003cp>\"Days can really blend one into the other here,\" said Yaron Milgrom, whose three children are all in Wilmurt's group. \"Music and singing songs, it's just part of keeping a sense of normalcy.\"\u003c/p>\n\u003cp>https://twitter.com/KQEDnews/status/1245782169357705218\u003c/p>\n\u003cp>\"For young singers who are finding themselves home from school and away from their friends and routines, it's especially important that they can be part of something that allows them to express their emotions and feel connected to others,\" said Catherine Dehoney, president and CEO of \u003ca href=\"https://www.chorusamerica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chorus America\u003c/a>, a national choral advocacy nonprofit. \"It's been amazing to see choruses step up and pivot quickly to find creative new ways for their singers to sing and be in community.\"\u003c/p>\n\u003cp>This new reality of singing-in-place is inspiring a variety of responses from Bay Area children’s musical groups. The Redwood City-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a>, which provides choral training to around 250 youth ages 5 to 18, is having its members create and send videos of themselves practicing at home to their coaches.\u003c/p>\n\u003cp>\u003ciframe title=\"Ragazzi Boys Chorus Young Men’s Ensemble, Concert Group & Choral Scholars\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aIqJJk2MJCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"We aren't always able to spend this amount of individual time on our choristers,\" said Kent Jue, Ragazzi's executive director and artistic director designate. \"Some of the recordings have been really impressive. I've been very taken by the progress that they've made.\"\u003c/p>\n\u003cp>Ragazzi member Elliot Lee, 10, said he likes the individual feedback.\u003c/p>\n\u003cp>\"The teacher can hear me alone to know what I need to improve at, and what I'm good with,\" Lee said.\u003c/p>\n\u003cp>Some groups, like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a>, are even gamely forging ahead with virtual rehearsals, despite the technological challenges.\u003c/p>\n\u003cp>Around 290 children, mostly from the East Bay, are enrolled in the organization's 12 vocal groups.\u003c/p>\n\u003cp>\u003ciframe title=\"Music of the Pacific Rim: Virtual Concert\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/x3lKO2nvabQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"Even though the online format is different and we can't all sing together and revel in hearing each other's voices, we can continue teaching and learning music,\" said Eric Tuan, the organization's artistic director.\u003c/p>\n\u003cp>\"There are ups and downs with the online forum, but it still keeps them connected and it still inspires them to sometimes break out into song around the house,\" said Aparna Rao, whose daughters Amba and Kiran Beattie sing in the children's choir. \"It also makes me feel less isolated as a parent.\"\u003c/p>\n\u003cp>Because of the technological shortcomings of the virtual platforms, the students mostly have to keep their video feed on mute throughout rehearsals. They can hear Tuan playing the piano and singing. But not each other.\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children's Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Zoom choir is fun but very, very different,\" said 10-year-old Kiran. \"We still see everyone else. But we don't hear anyone except for yourself and sometimes the conductor.\"\u003c/p>\n\u003cp>\"I am definitely most looking forward to being able to hear other people's voices. That's part of what being in the choir is all about,\" said 13-year-old Amba. \"And that is something that we haven't gotten the chance to do right now.\"\u003c/p>\n\u003cp>Tuan said he can’t wait to get everyone together again to sing in person.\u003c/p>\n\u003cp>\"We don't realize how precious that is,\" he said. \"Until we can no longer take it for granted.\"\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beth Wilmurt is used to coaching the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">Community Music Center Children’s Chorus\u003c/a> from a big, airy room with a grand piano at the group’s Mission District campus in San Francisco.\u003c/p>\n\u003cp>But now the chorus teacher is working from home, creating short instructional singing videos to share with her group of 8 to 12 year olds.\u003c/p>\n\u003cp>“Hi everybody! It’s just me and my ukulele, saying hi,\" says Wilmurt in her video. \"I thought you could sing with me,” she adds, and then launches into a series of warmup exercises geared specifically for kids.\u003c/p>\n\u003cp>\u003ciframe title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The statewide order to shelter in place to help slow the spread of the coronavirus has put in-person rehearsals and concerts on hold. So children’s choirs across the Bay Area, like the one Wilmurt leads, are finding creative ways to keep kids singing, even as they’re stuck indoors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wilmurt is hoping her students will use her videos to practice singing on their own time, because virtual rehearsals aren’t really an option. Some of the kids she works with lack home internet access. And standard video-conferencing platforms like Zoom and Google Hangouts don’t work well for groups that want to sing together in sync, rather than talk in turn.\u003c/p>\n\u003cp>\"We can't do it with the technology yet,\" Wilmurt said. \"We can't sing in time. There's a delay.\"\u003c/p>\n\u003cp>But Wilmurt said it’s important to keep her students singing, even if it can’t be in person. \"This joy, of connecting through music,\" she said. \"It's palpable.\"\u003c/p>\n\u003cp>And the families whose children she works with agree.\u003c/p>\n\u003cp>\"Days can really blend one into the other here,\" said Yaron Milgrom, whose three children are all in Wilmurt's group. \"Music and singing songs, it's just part of keeping a sense of normalcy.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"For young singers who are finding themselves home from school and away from their friends and routines, it's especially important that they can be part of something that allows them to express their emotions and feel connected to others,\" said Catherine Dehoney, president and CEO of \u003ca href=\"https://www.chorusamerica.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chorus America\u003c/a>, a national choral advocacy nonprofit. \"It's been amazing to see choruses step up and pivot quickly to find creative new ways for their singers to sing and be in community.\"\u003c/p>\n\u003cp>This new reality of singing-in-place is inspiring a variety of responses from Bay Area children’s musical groups. The Redwood City-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a>, which provides choral training to around 250 youth ages 5 to 18, is having its members create and send videos of themselves practicing at home to their coaches.\u003c/p>\n\u003cp>\u003ciframe title=\"Ragazzi Boys Chorus Young Men’s Ensemble, Concert Group & Choral Scholars\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/aIqJJk2MJCE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"We aren't always able to spend this amount of individual time on our choristers,\" said Kent Jue, Ragazzi's executive director and artistic director designate. \"Some of the recordings have been really impressive. I've been very taken by the progress that they've made.\"\u003c/p>\n\u003cp>Ragazzi member Elliot Lee, 10, said he likes the individual feedback.\u003c/p>\n\u003cp>\"The teacher can hear me alone to know what I need to improve at, and what I'm good with,\" Lee said.\u003c/p>\n\u003cp>Some groups, like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a>, are even gamely forging ahead with virtual rehearsals, despite the technological challenges.\u003c/p>\n\u003cp>Around 290 children, mostly from the East Bay, are enrolled in the organization's 12 vocal groups.\u003c/p>\n\u003cp>\u003ciframe title=\"Music of the Pacific Rim: Virtual Concert\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/x3lKO2nvabQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\"Even though the online format is different and we can't all sing together and revel in hearing each other's voices, we can continue teaching and learning music,\" said Eric Tuan, the organization's artistic director.\u003c/p>\n\u003cp>\"There are ups and downs with the online forum, but it still keeps them connected and it still inspires them to sometimes break out into song around the house,\" said Aparna Rao, whose daughters Amba and Kiran Beattie sing in the children's choir. \"It also makes me feel less isolated as a parent.\"\u003c/p>\n\u003cp>Because of the technological shortcomings of the virtual platforms, the students mostly have to keep their video feed on mute throughout rehearsals. They can hear Tuan playing the piano and singing. But not each other.\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children's Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Zoom choir is fun but very, very different,\" said 10-year-old Kiran. \"We still see everyone else. But we don't hear anyone except for yourself and sometimes the conductor.\"\u003c/p>\n\u003cp>\"I am definitely most looking forward to being able to hear other people's voices. That's part of what being in the choir is all about,\" said 13-year-old Amba. \"And that is something that we haven't gotten the chance to do right now.\"\u003c/p>\n\u003cp>Tuan said he can’t wait to get everyone together again to sing in person.\u003c/p>\n\u003cp>\"We don't realize how precious that is,\" he said. \"Until we can no longer take it for granted.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras",
"headTitle": "Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras | KQED",
"content": "\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity'",
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"content": "\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Brick & Mortar Music Hall Cuts Ties With Controversial Co-Owner, Signs Ten-Year Lease",
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"content": "\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. [aside postID=arts_13853477,arts_10973414,arts_13873227]\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Though its calendar is booked year-round, \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Telephone\u003c/a>‘s San Francisco recording studio isn’t financially solvent, owner John Vanderslice tells KQED.\u003c/p>\n\u003cp>That’s why, come July 1, Vanderslice will close the studio in the location he’s held in the Mission District since 1997.\u003c/p>\n\u003cp>“We pay over a thousand dollars a month in electricity—so much about being in San Francisco is impossibly expensive,” says Vanderslice, adding that he’s been diverting his clients to the Tiny Telephone location in Oakland, which he opened in 2016. [aside postid='arts_13873207']\u003c/p>\n\u003cp>For over 20 years, Tiny Telephone has been a bastion for indie rock in the Bay Area and beyond. Clients have included notable locals Tune-Yards, Shannon and the Clams and Thao & the Get Down Stay Down, and big names like Sleater-Kinney, Spoon, Death Cab for Cutie and the Mountain Goats.\u003c/p>\n\u003cp>Known for its analog recordings on tape, Tiny Telephone offers access to rare, vintage equipment, top-notch audio engineers and even a string ensemble, the Magik*Magik Orchestra. Yet, out of commitment to San Francisco’s financially squeezed independent musicians, Vanderslice has intentionally kept his rates relatively affordable ($300-$400 a day, excluding the price of an engineer), and hasn’t raised the price of his original A room since 2004.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve served a vulnerable arts community, so that community is very sensitive to us raising our prices,” he says. “We’ve probably been under market—especially compared to studios in L.A.—but I also don’t feel there’s that much room to raise our prices, so we’re in this strange predicament. … I think if we were in any other city, we would have been able to survive.”\u003c/p>\n\u003cp>Mounting costs have caught up to Vanderslice, despite the fact that his landlords, Marilyn and Chris Goode, have actually lowered his rent in recent years. “We’ve tried to make sure engineers got paid enough money to live and to thrive here, so the pressures are from everywhere,” Vanderslice says. “Our techs are phenomenal, but they live in San Francisco. There are techs that are $100 an hour.” [aside postid='arts_13869323']\u003c/p>\n\u003cp>“I think our landlord has shielded us, but you can only shield someone so far,” he adds.\u003c/p>\n\u003cp>Tiny Telephone’s San Francisco location is part of a four-building compound \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">known as the Farm\u003c/a>, which has a colorful history as a hub for radical ideas, urban gardening and DIY culture in San Francisco since the 1970s, when it was founded by conceptual artists \u003ca href=\"https://bampfa.org/news/q-bonnie-ora-sherk-and-performance-being\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a> and Jack Wickert. Comprised of converted industrial warehouses, the property borders Potrero and San Bruno Avenues, and is nestled between between Potrero del Sol park and Highway 101. In its first iteration, the Farm hosted gardening classes for school kids and served as a rehearsal space for performing arts groups such as the San Francisco Mime Troupe.\u003c/p>\n\u003cp>In the ’80s, punk bands like the Descendents and Bad Brains performed at the Farm. The \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">original tenants\u003c/a> were evicted in 1987. In its current incarnation, it includes three commercial buildings and one residential one (plus another adjoining residential building that isn’t owned by the Goode family). In addition to Tiny Telephone, the compound is home to punk label Subterranean Records, three art studios, a florist, a bike bag maker, a biotech company and other small businesses.\u003c/p>\n\u003cp>Tiny Telephone’s departure foreshadows what could be another end of an era at the mixed-use creative space. The fate of the Farm has hung in limbo for years as the owners have announced, and then called off, major changes at the property. Currently, they’re awaiting the Planning Department’s approval on a \u003ca href=\"https://socketsite.com/archives/2019/12/bonus-development-on-the-edge-of-the-mission-closer-to-reality.html\" target=\"_blank\" rel=\"noopener noreferrer\">six-story (plus basement) apartment building\u003c/a> that will require the demolition of the three commercial-use buildings in the compound. [aside postid='arts_13873069']\u003c/p>\n\u003cp>“We’ve always known that the property is not sustainable the way it is and that sometime it’s gonna change,” Chris Goode tells KQED.\u003c/p>\n\u003cp>“This property has had a lot of interesting uses—whether it’s artists, quirky businesses or people living there—because the rents are super cheap, not by national standards, but by San Francisco standards,” Goode adds. “They’re cheap not because we’re wonderful landlords—though we generally have a good relationship—but it’s a funky, weird piece of property up against the freeway.”\u003c/p>\n\u003cp>Construction won’t start for another five or so years, Goode anticipates, but some of the commercial tenants are already uneasy about what comes next.\u003c/p>\n\u003cp>Sculptor \u003ca href=\"http://mikgaspay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mik Gaspay\u003c/a>, who rents an art studio in one of the buildings, says that he received a verbal notice about the slated development two years ago and a written notice late last summer. “To kind of give it a concrete image of the rendering, and seeing surveyors and architects come by, definitely raises anxiety and the uncertainty of my future here in the city as an artist,” says Gaspay, adding that he and the other artists in the building are on month-to-month leases. “I don’t think I could find a similar place for the same price, and the vibe and proximity to my apartment.” [aside postid='arts_13870917']\u003c/p>\n\u003cp>For Vanderslice’s part, he says he knew development would one day come to the Farm since he signed his lease in the ’90s, and that San Francisco’s financial pressures are the primary driver behind his decision to shutter the original Tiny Telephone location. He recently relocated to Los Angeles, where he opened a new recording studio with two Tiny Telephone engineers called Grandma’s Couch, but he comes to the Bay Area regularly to tend to his businesses and property in Sonoma County.\u003c/p>\n\u003cp>Despite the upcoming San Francisco closure, he says business at Tiny Telephone isn’t slowing down. In fact, he anticipates his Oakland studio will be in even greater demand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been so busy—we were booked on Christmas for all three rooms this year,” he says, praising the resilience of the Bay Area’s creative community. “There are still tons and tons of people making art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though its calendar is booked year-round, \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Telephone\u003c/a>‘s San Francisco recording studio isn’t financially solvent, owner John Vanderslice tells KQED.\u003c/p>\n\u003cp>That’s why, come July 1, Vanderslice will close the studio in the location he’s held in the Mission District since 1997.\u003c/p>\n\u003cp>“We pay over a thousand dollars a month in electricity—so much about being in San Francisco is impossibly expensive,” says Vanderslice, adding that he’s been diverting his clients to the Tiny Telephone location in Oakland, which he opened in 2016. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For over 20 years, Tiny Telephone has been a bastion for indie rock in the Bay Area and beyond. Clients have included notable locals Tune-Yards, Shannon and the Clams and Thao & the Get Down Stay Down, and big names like Sleater-Kinney, Spoon, Death Cab for Cutie and the Mountain Goats.\u003c/p>\n\u003cp>Known for its analog recordings on tape, Tiny Telephone offers access to rare, vintage equipment, top-notch audio engineers and even a string ensemble, the Magik*Magik Orchestra. Yet, out of commitment to San Francisco’s financially squeezed independent musicians, Vanderslice has intentionally kept his rates relatively affordable ($300-$400 a day, excluding the price of an engineer), and hasn’t raised the price of his original A room since 2004.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve served a vulnerable arts community, so that community is very sensitive to us raising our prices,” he says. “We’ve probably been under market—especially compared to studios in L.A.—but I also don’t feel there’s that much room to raise our prices, so we’re in this strange predicament. … I think if we were in any other city, we would have been able to survive.”\u003c/p>\n\u003cp>Mounting costs have caught up to Vanderslice, despite the fact that his landlords, Marilyn and Chris Goode, have actually lowered his rent in recent years. “We’ve tried to make sure engineers got paid enough money to live and to thrive here, so the pressures are from everywhere,” Vanderslice says. “Our techs are phenomenal, but they live in San Francisco. There are techs that are $100 an hour.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think our landlord has shielded us, but you can only shield someone so far,” he adds.\u003c/p>\n\u003cp>Tiny Telephone’s San Francisco location is part of a four-building compound \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">known as the Farm\u003c/a>, which has a colorful history as a hub for radical ideas, urban gardening and DIY culture in San Francisco since the 1970s, when it was founded by conceptual artists \u003ca href=\"https://bampfa.org/news/q-bonnie-ora-sherk-and-performance-being\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Ora Sherk\u003c/a> and Jack Wickert. Comprised of converted industrial warehouses, the property borders Potrero and San Bruno Avenues, and is nestled between between Potrero del Sol park and Highway 101. In its first iteration, the Farm hosted gardening classes for school kids and served as a rehearsal space for performing arts groups such as the San Francisco Mime Troupe.\u003c/p>\n\u003cp>In the ’80s, punk bands like the Descendents and Bad Brains performed at the Farm. The \u003ca href=\"http://www.foundsf.org/index.php?title=The_Farm\" target=\"_blank\" rel=\"noopener noreferrer\">original tenants\u003c/a> were evicted in 1987. In its current incarnation, it includes three commercial buildings and one residential one (plus another adjoining residential building that isn’t owned by the Goode family). In addition to Tiny Telephone, the compound is home to punk label Subterranean Records, three art studios, a florist, a bike bag maker, a biotech company and other small businesses.\u003c/p>\n\u003cp>Tiny Telephone’s departure foreshadows what could be another end of an era at the mixed-use creative space. The fate of the Farm has hung in limbo for years as the owners have announced, and then called off, major changes at the property. Currently, they’re awaiting the Planning Department’s approval on a \u003ca href=\"https://socketsite.com/archives/2019/12/bonus-development-on-the-edge-of-the-mission-closer-to-reality.html\" target=\"_blank\" rel=\"noopener noreferrer\">six-story (plus basement) apartment building\u003c/a> that will require the demolition of the three commercial-use buildings in the compound. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve always known that the property is not sustainable the way it is and that sometime it’s gonna change,” Chris Goode tells KQED.\u003c/p>\n\u003cp>“This property has had a lot of interesting uses—whether it’s artists, quirky businesses or people living there—because the rents are super cheap, not by national standards, but by San Francisco standards,” Goode adds. “They’re cheap not because we’re wonderful landlords—though we generally have a good relationship—but it’s a funky, weird piece of property up against the freeway.”\u003c/p>\n\u003cp>Construction won’t start for another five or so years, Goode anticipates, but some of the commercial tenants are already uneasy about what comes next.\u003c/p>\n\u003cp>Sculptor \u003ca href=\"http://mikgaspay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mik Gaspay\u003c/a>, who rents an art studio in one of the buildings, says that he received a verbal notice about the slated development two years ago and a written notice late last summer. “To kind of give it a concrete image of the rendering, and seeing surveyors and architects come by, definitely raises anxiety and the uncertainty of my future here in the city as an artist,” says Gaspay, adding that he and the other artists in the building are on month-to-month leases. “I don’t think I could find a similar place for the same price, and the vibe and proximity to my apartment.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Vanderslice’s part, he says he knew development would one day come to the Farm since he signed his lease in the ’90s, and that San Francisco’s financial pressures are the primary driver behind his decision to shutter the original Tiny Telephone location. He recently relocated to Los Angeles, where he opened a new recording studio with two Tiny Telephone engineers called Grandma’s Couch, but he comes to the Bay Area regularly to tend to his businesses and property in Sonoma County.\u003c/p>\n\u003cp>Despite the upcoming San Francisco closure, he says business at Tiny Telephone isn’t slowing down. In fact, he anticipates his Oakland studio will be in even greater demand.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve been so busy—we were booked on Christmas for all three rooms this year,” he says, praising the resilience of the Bay Area’s creative community. “There are still tons and tons of people making art.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. [aside postid='arts_13857471']\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. [aside postid='arts_13114272']\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” [aside postid='arts_13852882']\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.britannica.com/topic/Hagia-Sophia\" target=\"_blank\" rel=\"noopener noreferrer\">Hagia Sophia cathedral\u003c/a> in Istanbul is incredibly reverberant — a sound will echo around and remain audible for eleven seconds. That reverberance shaped nearly a thousand years of music written to be performed inside the cathedral. But no one has been able to listen to what it’s like to hear a church choir sing inside the Hagia Sophia for over 500 years. That is, until now.\u003c/p>\n\u003cp>[aside tag='california-sounds' label='Related Coverage.']When the Hagia Sophia was completed in 537 AD, it was the largest building in the world, and for a thousand years it was the biggest cathedral on the planet. Countless songs were written for the acoustics of the Hagia Sophia. The architecture of this one building influenced the whole trajectory of Eastern Orthodox church music.\u003c/p>\n\u003cp>At the end of the 15th century, the Ottomans crushed the Byzantine Empire. They turned the Hagia Sophia into a mosque, and in 1935 it became a museum. Church choirs are not allowed to perform inside, so it has been centuries since anyone heard the music as it was supposed to sound inside the Hagia Sophia.\u003c/p>\n\u003cp>But thanks to some professors at Stanford, that’s no longer the case.\u003c/p>\n\u003cp>About a decade ago, art history professor \u003ca href=\"https://art.stanford.edu/people/bissera-pentcheva\" target=\"_blank\" rel=\"noopener noreferrer\">Bissera Pentcheva\u003c/a> and computer music professor Jonathan Abel started a mission to map the acoustic profile of the Hagia Sophia and created a digital filter that could be applied to any sound. The feat required the latest theories of “convolution reverb,” a few trips to Istanbul and at least one pack of balloons.\u003c/p>\n\u003cp>Finally, to replicate the music heard inside of the Hagia Sophia, they shared their filter with Cappella Romana, a Portland-based choir that specializes in Byzantine chants. Take a listen to hear how Pentcheva, Abel and Cappella Romana have brought back music that hasn’t been heard exactly as it was intended for over 500 years.\u003c/p>\n\u003cp>For the full surround sound effect, throw on a pair of headphones before you listen!\u003c/p>\n\u003chr>\n\u003cp>This story comes to us from Chris Hoff and Sam Harnett of \u003ca href=\"http://www.theworldaccordingtosound.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The World According to Sound podcast\u003c/a>. They’re partnering with the \u003ca href=\"http://lighthouse-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LightHouse for the Blind and Visually Impaired\u003c/a> in San Francisco to help us reimagine California in the rich way blind people experience it every day. The project has additional support from\u003ca href=\"https://calhum.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Humanities\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Mission District's 41st Carnaval Explores Healing Through Culture",
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"content": "\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city’s Mission District over the weekend with dance performances, music and food. This year’s theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group’s ten-year anniversary at Carnaval with a performance titled, “Evolution to Epicness.” \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>“The best thing about Carnaval is just seeing everybody that doesn’t live here anymore but they come back to celebrate,” said Jackie Ruiz, an attendee on Saturday. “That’s really awesome, I love that.”\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event’s executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>“It’s sad because I know currently there are millions of Latinos in this country that go from work and go to home,” he said. “They don’t go to movies, they don’t go to clubs, they don’t go to outings, they don’t go to picnics.”\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to the report.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carnaval San Francisco celebrated the diverse Latin American and Caribbean roots of the city’s Mission District over the weekend with dance performances, music and food. This year’s theme focused on healing through culture in reaction to the hostility the Latino community feels under the Trump administration, according to Carnaval Executive Producer Roberto Hernandez.\u003c/p>\n\u003cp>The two-day cultural celebration began Saturday with vendors and performers, and continued Sunday with a parade that travelled along 24th and Mission Streets.\u003c/p>\n\u003cfigure id=\"attachment_11750066\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750066\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1603-e1558922311567.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">More than 400 members of Karibbean Vibrationz celebrate the group’s ten-year anniversary at Carnaval with a performance titled, “Evolution to Epicness.” \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750067\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750067\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1433-e1558919006980.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean stops to pet a furry friend. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750080\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750080\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1561-e1558917661640.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoke wallows down 24th Street as a woman carries burning incense with Esplendor Azteca Xipe Totec — a group that teaches indigenous cultural dances throughout the Bay Area. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The annual festivities began back in 1979 as a spin-off of the traditional Brazilian pre-Lent festival, but the celebration has evolved to expand its diversity over the decades.\u003c/p>\n\u003cp>The first Carnaval parade marched around Precita Park on a drizzly February day, as expat communities in the city yearned for a taste of home more than 40 years ago.\u003c/p>\n\u003cfigure id=\"attachment_11750077\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750077\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1393-1-e1558922900539.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A mother and daughter hold hands at the 41st annual Carnaval Festival on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750071\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750071\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1508-e1558922945660.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman sells five dollar tostadas to festival-goers. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750070\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750070\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1550-e1558923137625.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A crowd gathers to watch as the parade travels down 24th Street. Floats in the parade range from simple to extravagant. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its inception, the festival moved to May seeking better weather. In addition to celebrating Caribbean, Central and South American heritages, Carnaval eventually became even more diverse by inviting Asian Pacific and Hawaiian communities into the festivities.\u003c/p>\n\u003cp>“The best thing about Carnaval is just seeing everybody that doesn’t live here anymore but they come back to celebrate,” said Jackie Ruiz, an attendee on Saturday. “That’s really awesome, I love that.”\u003c/p>\n\u003cfigure id=\"attachment_11750069\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750069\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1465-e1558923578776.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dancer with Flavaz of D’Carribean flaunts her moves for the crowd. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750075\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750075\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1532-e1558923626849.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A woman in traditional Bolivian dress dances to a live band with Bolivia Para El Mundo. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750087\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750087\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1496-1-e1558924267856.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two attendees cheer as they watch the parade pass by. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hernandez, the event’s executive producer, said the visible celebration is all too rare for certain communities.\u003c/p>\n\u003cp>“It’s sad because I know currently there are millions of Latinos in this country that go from work and go to home,” he said. “They don’t go to movies, they don’t go to clubs, they don’t go to outings, they don’t go to picnics.”\u003c/p>\n\u003cp>But for many, the festivities provide a home away from home.\u003c/p>\n\u003cfigure id=\"attachment_11750078\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750078\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1410-1-e1558918778464.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">La Cumbiamba Colombiana, a Bay Area dance company that passes Columbian traditions to younger generations, performs cumbia dance. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11750073\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11750073\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/05/IMG_1593-e1558919315158.jpg\" alt=\"\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Samba Conmigo merges cultural dances through a combination of samba, salsa and ballet on Bryant Street. \u003ccite>(Audrey Garces/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s Sara Hossaini contributed to the report.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "As Grape Industry Changes, Farmworkers Pick Up Extra Shifts Collecting Trash at Coachella Festival | KQED",
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"content": "\u003cp>It was still dark in the eastern Coachella Valley when Enriqueta Magaña assembled her crew of about a dozen workers along a row of grapevines and demonstrated the work they’d be doing that day. She used both hands to snap small branches off the vines.\u003c/p>\n\u003cp>[aside postID='news_11737874,news_11737834,news_11737988' label='The Coachella You Might Not Have Heard About']\u003c/p>\n\u003cp>“We’re going to work hard,” Magaña, a field forewoman, told her crew that morning in early April. They all wore an unofficial uniform — pants, long-sleeved shirts, brimmed hats and bandannas — to protect their skin from the sun, which would soon bake the California desert. “It’s for the good of all of us.”\u003c/p>\n\u003cp>For three weekends this month, Magaña is giving similar advice to a crew cleaning up trash after the Coachella and Stagecoach music festivals.\u003c/p>\n\u003cp>Following eight-hour days in the fields, Magaña and many of her farmworkers change into another uniform — latex gloves and colored T-shirts — and head to the Empire Polo Club in Indio.\u003c/p>\n\u003cp>When the last concertgoers stumble out of the festival after midnight, the grounds look like “a garbage dump,” Magaña said.\u003c/p>\n\u003cp>She and her crew work overnight, filling trash bags with soggy plastic cups, grease-stained plates and other objects left behind by attendees. By the time they finish their shift at 3:30 a.m., the grounds are spotless again.\u003c/p>\n\u003cp>Coachella 2017 was the highest-grossing festival in the world, according to the most recent statistics available from Pollstar, a publication focused on the concert industry. Working behind the scenes are area residents who, according to Magaña, earn minimum wage to make sure the grounds are pristine for each day’s festivities.\u003c/p>\n\u003cfigure id=\"attachment_11741277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741277\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg\" alt=\"Field supervisor Enriqueta Magaña has worked in the Coachella Valley's grape vineyards for two decades and at the Coachella festival for 10 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Field supervisor Enriqueta Magaña has worked in the Coachella Valley’s grape vineyards for two decades and at the Coachella festival for 10 years. \u003ccite>(Omar Ornelas/The Desert Sun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festivals coincide with the grape-growing season, so Magaña and her team typically labor all day in the fields, often amid sweltering temperatures, and then all night at the festivals, catching an hour or two of sleep and a cup of coffee in between shifts.\u003c/p>\n\u003cp>But in the Coachella Valley, grape growers planted about 1,000 fewer acres in 2017 than they had in 2013, according to the Riverside County Agricultural Commissioner’s Office.\u003c/p>\n\u003cp>The reduction in grapevines, Magaña said, has resulted in fewer hours of low-wage work in the fields. So residents continue picking up extra shifts at the festival, laboring in the shadows of an event that has made their hometown a household name.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.desertsun.com/story/life/entertainment/music/coachella/2019/04/18/coachella-festival-farmworkers-pick-up-extra-shifts-collecting-trash/3474941002/\" target=\"_blank\" rel=\"noopener\">Read the full story via The Desert Sun\u003c/a>\u003c/h3>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "They're laboring in the shadows of an event that has made their town a household name, working in sweltering heat in the fields all day and getting just an hour or two of sleep before picking up garbage all night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was still dark in the eastern Coachella Valley when Enriqueta Magaña assembled her crew of about a dozen workers along a row of grapevines and demonstrated the work they’d be doing that day. She used both hands to snap small branches off the vines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re going to work hard,” Magaña, a field forewoman, told her crew that morning in early April. They all wore an unofficial uniform — pants, long-sleeved shirts, brimmed hats and bandannas — to protect their skin from the sun, which would soon bake the California desert. “It’s for the good of all of us.”\u003c/p>\n\u003cp>For three weekends this month, Magaña is giving similar advice to a crew cleaning up trash after the Coachella and Stagecoach music festivals.\u003c/p>\n\u003cp>Following eight-hour days in the fields, Magaña and many of her farmworkers change into another uniform — latex gloves and colored T-shirts — and head to the Empire Polo Club in Indio.\u003c/p>\n\u003cp>When the last concertgoers stumble out of the festival after midnight, the grounds look like “a garbage dump,” Magaña said.\u003c/p>\n\u003cp>She and her crew work overnight, filling trash bags with soggy plastic cups, grease-stained plates and other objects left behind by attendees. By the time they finish their shift at 3:30 a.m., the grounds are spotless again.\u003c/p>\n\u003cp>Coachella 2017 was the highest-grossing festival in the world, according to the most recent statistics available from Pollstar, a publication focused on the concert industry. Working behind the scenes are area residents who, according to Magaña, earn minimum wage to make sure the grounds are pristine for each day’s festivities.\u003c/p>\n\u003cfigure id=\"attachment_11741277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11741277\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg\" alt=\"Field supervisor Enriqueta Magaña has worked in the Coachella Valley's grape vineyards for two decades and at the Coachella festival for 10 years.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/Field-Supervisor-Enriqueta-Magana.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Field supervisor Enriqueta Magaña has worked in the Coachella Valley’s grape vineyards for two decades and at the Coachella festival for 10 years. \u003ccite>(Omar Ornelas/The Desert Sun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The festivals coincide with the grape-growing season, so Magaña and her team typically labor all day in the fields, often amid sweltering temperatures, and then all night at the festivals, catching an hour or two of sleep and a cup of coffee in between shifts.\u003c/p>\n\u003cp>But in the Coachella Valley, grape growers planted about 1,000 fewer acres in 2017 than they had in 2013, according to the Riverside County Agricultural Commissioner’s Office.\u003c/p>\n\u003cp>The reduction in grapevines, Magaña said, has resulted in fewer hours of low-wage work in the fields. So residents continue picking up extra shifts at the festival, laboring in the shadows of an event that has made their hometown a household name.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.desertsun.com/story/life/entertainment/music/coachella/2019/04/18/coachella-festival-farmworkers-pick-up-extra-shifts-collecting-trash/3474941002/\" target=\"_blank\" rel=\"noopener\">Read the full story via The Desert Sun\u003c/a>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "this-is-the-coachella-most-dont-see",
"title": "This Is the Coachella Most Californians Don't See",
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"headTitle": "This Is the Coachella Most Californians Don’t See | KQED",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[dropcap]F[/dropcap]or many Californians, their only reference point for the Coachella Valley is the \u003ca href=\"https://coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">annual music festival\u003c/a> which kicks off this week, where tens of thousands of concert-goers from around the world gather to see big-name headliners and party in the desert. But there’s another side to Coachella — the one the locals see.\u003c/p>\n\u003cp>Thousands of acres of date palms. Early morning dew on the grape vines. A thriving indigenous community. The backyard concerts where local artists have created their own music scene. \u003c/p>\n\u003cp>And also, high asthma rates. The decaying \u003ca href=\"https://www.kqed.org/news/11737659/theres-so-much-here-thats-still-alive-young-filmmakers-document-a-dying-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Salton Sea\u003c/a>.\u003c/p>\n\u003cp>“I want people to know what it’s really like, and the issues we’re facing. Because it’s something that I face, too,” said 24-year-old Bryan Mendez, a reporter with \u003ca href=\"http://coachellaunincorporated.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella Unincorporated\u003c/a>, where young people write and document the stories of this valley.\u003c/p>\n\u003cfigure id=\"attachment_11739127\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Mendez is a filmmaker and farmworker from the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendez grew up picking grapes with his parents. He still does farm work and construction to pay the bills. But he’s also a talented photographer and filmmaker.\u003c/p>\n\u003cp>The California Report Magazine’s host Sasha Khokha teamed up with Mendez to take a tour of his Coachella Valley, from the orchard where his mom takes a lift 60 feet up in the air to harvest dates, to the local joint where you can eat homemade ice cream made from Mexican pastries.\u003c/p>\n\u003cp>\u003cem>Take a look at a few of Mendez’s photos:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11739138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The trailer where Mendez grew up in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737885\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruzito, a farmworker who works with Mendez in the vines. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737895 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36339_Jose%CC%81-el-palmero-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before working the palms, Jose was a carpenter in Michoacán. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family owned and operated farm in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737899 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm leaves are lifted with cranes to work the dates. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737878 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmers harvesting spinach during the rainy season in Oasis, CA. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737881\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yellow ponchos are known to be uncomfortable for female workers. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737891\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yisel Ibarra plays soccer at Desert Mirage High School, which became the first school in the Coachella Valley to win a state title this year. Before this year the team had hardly won any games. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737892\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young speaker at The Women’s March in Coachella Valley, 2018. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737890\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert flowers in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11739129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg\" alt=\"Palm trees in the Eastern Coachella Valley.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11739129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm trees in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737896 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Date palms have become a growing industry for local families. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737901 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salton Sea is one of the world’s largest inland seas, but the water is toxic, and might be causing respiratory illnesses throughout the Eastern Coachella Valley community. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737889 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coachella Valley at sunset. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "For many Californians, their only reference point for the Coachella Valley is the annual music festival which kicks off this week. But there are other sides to Coachella — the ones locals see.",
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"title": "This Is the Coachella Most Californians Don't See | KQED",
"description": "For many Californians, their only reference point for the Coachella Valley is the annual music festival which kicks off this week. But there are other sides to Coachella — the ones locals see.",
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"headline": "This Is the Coachella Most Californians Don't See",
"datePublished": "2019-04-12T16:26:06-07:00",
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"source": "The California Report Magazine",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or many Californians, their only reference point for the Coachella Valley is the \u003ca href=\"https://coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">annual music festival\u003c/a> which kicks off this week, where tens of thousands of concert-goers from around the world gather to see big-name headliners and party in the desert. But there’s another side to Coachella — the one the locals see.\u003c/p>\n\u003cp>Thousands of acres of date palms. Early morning dew on the grape vines. A thriving indigenous community. The backyard concerts where local artists have created their own music scene. \u003c/p>\n\u003cp>And also, high asthma rates. The decaying \u003ca href=\"https://www.kqed.org/news/11737659/theres-so-much-here-thats-still-alive-young-filmmakers-document-a-dying-salton-sea\" target=\"_blank\" rel=\"noopener noreferrer\">Salton Sea\u003c/a>.\u003c/p>\n\u003cp>“I want people to know what it’s really like, and the issues we’re facing. Because it’s something that I face, too,” said 24-year-old Bryan Mendez, a reporter with \u003ca href=\"http://coachellaunincorporated.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella Unincorporated\u003c/a>, where young people write and document the stories of this valley.\u003c/p>\n\u003cfigure id=\"attachment_11739127\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/DSCF8204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Mendez is a filmmaker and farmworker from the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendez grew up picking grapes with his parents. He still does farm work and construction to pay the bills. But he’s also a talented photographer and filmmaker.\u003c/p>\n\u003cp>The California Report Magazine’s host Sasha Khokha teamed up with Mendez to take a tour of his Coachella Valley, from the orchard where his mom takes a lift 60 feet up in the air to harvest dates, to the local joint where you can eat homemade ice cream made from Mexican pastries.\u003c/p>\n\u003cp>\u003cem>Take a look at a few of Mendez’s photos:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11739138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11739138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36457_The-trailer-where-I-grew-up-half-of-my-life-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The trailer where Mendez grew up in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737885\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36328_Cruzito-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cruzito, a farmworker who works with Mendez in the vines. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737895 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36339_Jose%CC%81-el-palmero-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36339_José-el-palmero-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Before working the palms, Jose was a carpenter in Michoacán. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36341_Palmero-sin-miedo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family owned and operated farm in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737899 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36342_Palmeros-en-Oasis-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm leaves are lifted with cranes to work the dates. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737878\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737878 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36322_Campesina-en-la-lluvia-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmers harvesting spinach during the rainy season in Oasis, CA. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737881\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737881\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36324_Campesinos-en-la-lluvia-2-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yellow ponchos are known to be uncomfortable for female workers. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737891\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36335_Generaciones-del-valle-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yisel Ibarra plays soccer at Desert Mirage High School, which became the first school in the Coachella Valley to win a state title this year. Before this year the team had hardly won any games. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737892\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36336_Generaciones_-qut.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young speaker at The Women’s March in Coachella Valley, 2018. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11737890\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36334_Flor-en-el-diserto_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desert flowers in the Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11739129\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg\" alt=\"Palm trees in the Eastern Coachella Valley.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11739129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36455_Palmas-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Palm trees in the Eastern Coachella Valley. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737896 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36340_Palmas-Olvidadas_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Date palms have become a growing industry for local families. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737901 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36346_The-Salton-Sea-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Salton Sea is one of the world’s largest inland seas, but the water is toxic, and might be causing respiratory illnesses throughout the Eastern Coachella Valley community. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11737889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11737889 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/04/RS36333_El-Valle-de-Coachella_-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Coachella Valley at sunset. \u003ccite>(Courtesy of Bryan Mendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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